Bob Marley And The Wailers*Bad Card

Label:

Tuff Gong – none

Format:

Vinyl , 7", 45 RPM, Single

Country:

Jamaica

Released:

Genre:

Reggae

Style:

Dub

Tracklist

A Bad Card
B Rub-A-Dub Style

Companies, etc.

  • Distributed ByTuff Gong Records
  • Published ByBob Marley Music
  • Lacquer Cut AtKK Mastering Labs, Inc.

Credits

  • Written-ByB. Marley*

Notes

(C) 1980 (P) 1980

Barcode and Other Identifiers

  • Matrix / Runout (Runout A): Tuff gong-Bad Card-A KK Mastering
  • Matrix / Runout (Runout B): Tuff gong-Dubb Card-B KK Mastering

Other Versions (4)

View All
Title (Format) Label Cat# Country Year
Bad Card (7", 45 RPM, Single, Repress) Tuff Gong none Jamaica 1980
Bad Card (7", Single, Reissue) Tuff Gong none Jamaica 1980
Recently Edited
Bad Card (7", 45 RPM, Single, Repress) Tuff Gong none Jamaica 1980
New Submission
Bad Card (7", 45 RPM, Repress) Tuff Gong none Jamaica Unknown

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Reviews

  • nattygreg's avatar
    nattygreg
    Edited one year ago
    Good quality original JA Press,
    This title evokes Bob's dissatisfaction with his former manager Don Taylor who, like many managers, had been skimming thousands of dollars off Bob's back for several years.
    • doluwoo2's avatar
      doluwoo2
      Performance Review, "BAD CARD", From the Live 1980 Rehersal Sessions (SEE Youtube at 18:00 in.) I this jam session from the "Time Will Tell" documentary (1993). I always felt that it showed Marley demonstrating his shamanic type of symbiosis with sound. As the band seems to supernaturally adhere to his phrenetic lead. With this performance, Marley discloses what is a perfect example of the timing and "feel" that he is capable of, even in his last days. The song is also a good demonstration of the downbeat progression sound system. With the instrumentalists just sittin' back on the rhythm, like on a sound wave. Which is, seemingly, a physical distortion of the song's gravitational pull. Not unlike the propulsion systems described by Bob Lazar. Thus permitting the craft to be driven by the counter-position of the lead organ with the force of the pulsatile drum. As much, it is also a mystical expression of the "bridge" concept. By the crescendo style lead up and then release of chords from the tight structure of Marley's rhythm guitar. With the whole oratorio taking full dimensional flight by the high octane injection of his aria, and HIM utterance of This refrain: "Guarding the palace so_ majestic." Indeed, Mr. Marley you were..." Yardmon50

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